I didn’t accomplish as much as I would have liked to, with my Div III (in part because I started out with with genuinely enormous ideas), but I did a lot, and learned a lot, and my faculty committee all seemed to be fairly satisfied with my work. And also slightly mystified, since historical reproduction clothing isn’t exactly a specialty for any of them. My biggest regret is that I wasn’t able to take and post pictures, because I didn’t have a camera and ran out of time to make other arrangements. There just wasn’t enough time to do everything I wanted to do!

While working on my Div III, I was also applying to graduate schools, and I’ve now finished my first semester at New Mexico State University in Las Cruces, NM, where I’m pursuing a master’s degree in “history with a concentration in public history.” I love it here, and I’m extremely happy with the program. The logistics worked out astonishingly well – NMSU’s public history program actually includes a “Time Traveling” course every spring, which trains historians in first person living history techniques which invite museum visitors or students to play along with the historical interpreters. I’ve never heard of any other school in the country offering such a thing, and it’s fairly perfect for me. Plus they didn’t want me to take the GREs! All this, plus it being in New Mexico meant that my boyfriend – a devoted New Mexico native – and I were able to stay together after graduation. In July, we moved to a peculiar little house in Las Cruces, and on Christmas, he proposed. I think it makes a nice little happy ending for 2011!

Now that we’re settled in here, I’m hoping to start blogging regularly, and going back in to fill in the blanks for the Div III sewing projects. I have a camera now, so I can even start including pictures! I have a little sewing room here, which is finally entirely useable, and I expect to be able to get more sewing done in the future, which I’ll be sharing on this site. Some projects will be carefully researched historical garments (1830s, 1860s, and 1912 are in the works), some will be just-for-fun (like a superhero cape for my cousin’s three-year-old daughter), and some will be vintage-style clothes for everyday use (because I can live with being thought eccentric). I’ll also post about general research for historical and vintage clothes, textiles, and probably also hair and beauty. There may even be some knitting and sewn housewares projects.

I also have two other blogs now, to post about different things I’m working on. There’s The Dog and Chicken Kitchen, my fledgeling food blog, where I’ll document my love of real food (done gluten-free), and post recipes for from-scratch, not-too-crazily-elaborate, tasty food. And then there’s An Old-Fashioned Wedding at Home, which I’ve just started but am posting posting at regularly, to describe our unconventional but not exactly modern approach to getting hitched, with some philosophizing, some tips and tutorials, and all kinds of details on my wedding dress, which I designed and which I’ll be making myself. Fortunately, I have a year and a half to work on it!

I find it slightly absurd that I’m looking at actively working on three different blogs, but they’re all connected through this WordPress account, and the content is bound to be quite different for all three. So, three blogs it is, and we’ll see how that goes. I’d rather not try to crow everything into one place and swamp (hypothetical) readers of one subject with information on completely differently subjects. But I’ll probably do a fair bit of linking back and forth. I suspect that the patterning and construction of my 1950s style silk wedding dress will be rather relevant over here as well, so I may do a bit of cross-posting for the major updates. But ultimately, I want to be able to talk about other wedding things as well, and chit-chat about the fascinating world of the wedding blogosphere, so a lot of that content will need to be off in its own corner of the internet, because I want to keep this blog focused on sewing and other needle arts, whether historical, vintage, or just old-fashioned in approach.

So there, finally, is a little update to my abandoned blog! I’ll be going back in to the placeholder posts and trying to add more information, and pictures of projects or supplies where I can. If there’s anything you’re specifically interested in getting more information on, please feel free to email me – ava dot trimble at g mail dot com – and I’ll make a priority of it. Now, I should probably go sew something…

I had not originally intended to spend this much time creating a glossary of terms, but as I started looking things up, I found that often sources conflicted with one another, and many terms have had different meanings over time. In order to create a genuinely useful resource, I needed to go deeper and make my entries more extensively – so I did. As I was creating this glossary, I remembered that this is actually quite close to the core idea of an early incarnation of my concept for my Div III.

Back while I was interning at Old Sturbridge Village last summer, I remarked that it was unfortunate that no one had written an annotated version of The Workwoman’s Guide – the way people do with classic literature. The person I was talking to, a Hampshire grad, replied that that sounded like a great Div III. I laughed and said that I couldn’t possibly do ALL that…but the idea stuck. And thus the total rebirth of my Div III concept began. For a while, I conceived of my Div III as being a multimedia set of online projects and articles, offering pieces of “translated” 19th century (and perhaps other period) sources, from the WWG and other sources. For instance, I wanted to create a set of short videos to be posted online that demonstrated different types of period stitches, which are often difficult to learn without being shown in person. Eventually I became more focused on the idea of written documentation, and creating an exhibit, but now I am morphing these ideas together.

This site will be in some ways an exhibit, in some ways written documentation, and in some ways a free resource for the public, offering practical information on how to go about reproducing vintage and historical clothing. One important component for me is that I’m not just offering my own knowledge; I’m also offering collected and organized links, quotes, and references to helpful printed information. Because there is a great deal of excellent information available, even just online, but it isn’t always easy to find, and it can be difficult, especially for beginners, to assess the accuracy and reliability (and even the practical usefulness!) of a given source. By collecting and organizing a variety of resources, I am able to offer my perspective on them, and also able to supplement what I know, what I have written, and what I have done.

Perhaps most importantly, I am setting up this site so that I can keep adding to it, and keep adding to it easily. Because I don’t want to graduate and drop what I’ve been working on; I have every intention of continuing with this research, these projects, and this site. And that is what I keep reminding myself of, every time I feel disappointed that I haven’t been able to do the entire heap of Div III project I’ve dreamed up. Especially considering that my committee has been trying to convince me to do less all along. It’s encouraging that with this site, I can plan on continuing this into the future, and the projects that have been left in the dust during the downscaling process seem a little less abandoned, because a future for them exists, here on the internet–possibly even educating someone about something!

The plan now is to keep building this site, as functionally as possible; to write up a paper overviewing my Div III to turn in by Monday; and to get a reasonable quantity of sewing work finished or at least to an interesting stage – all in 10 days. It’s not exactly a short order, but I think I’ve almost convinced myself that I can do enough that it will be a lovely, useful, full Div III; even though it won’t be as grand as I have dreamed.

In sewing news, I made a lovely faux bustle, the 1870s inspired faux bustle of pansy synthetic netting, for Sarah’s 1870s inspired butterfly masquerade costume. It took about an hour, and came out quite nicely. It’s not at all historically accurate, but since neither it nor the ensemble are intended to be historical reproductions, that isn’t a hindrance. It makes for a charming and very inexpensive fluffy shape to fill out the skirt of a pretty Halloween masquerade costume with nice historical lines.Now I’m going to work on some sewing (truly, a wild Saturday night!) and work on mentally evaluating what else I’m going to do in the time I have left. And work on my paper. Busy? Me? Of course not…

-Ava

Definitions of velvet, plush, velveteen, and other pile fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 46, under the heading “Velvet,” it is stated that “Velvet is a dense, pile-woven fabric commonly produced in cotton or silk. Florence Montgomery notes that it was also produced in wool in the eighteenth and early nineteenth centuries (Textiles in America, 370). Depending upon one’s budget, either cotton or silk velvet could be used in the early nineteenth century for breeches or pantaloons, vests, cloaks or greatcoats, and dresses. Velvet was also much used as trimming and embellishment; for example, many men’s coats and cloaks from the period have velvet collars. The sample shown here is cotton velvet.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

All on page 180: “Velvet” is defined as “silk fabric cut with a dense pile on right side, may have a cotton back.” Then “cut velvet” is defined as “velvet with the pile loops cut so the pile is of single threads.” Later, “uncut velvet” is defined as “pile velvet; loops of the pile are not cut.” Then “velveteen” is defined as “cotton fabric made in imitation of velvet.” Then “wool velour” is defined as “heavy wool fabric with a pile like velvet.”

On page 179, “plush” is defined as “fine quality cotton fabric with a pile or nap of silk, softer and longer than velvet.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 370, “velvet” is defined as “A pile fabric made of silk, wool, or cotton fibers. It is an extra-warp woven-pile structure whereas velveteen is an extra-weft structure.” Also on page 370, “velveteen” is defined as “Cotton velvet. According to Emery it has an extra-weft woven-pile structure.” On page 325, “plush (Fr. peluche)” is defined as “Wool velvet. A kind of stuff with a velvet nap or shag on one side.”

On page 287, “Manchester velvets” are defined as “Cotton velvets including thickset, velveret, and corduroy.” On page 363, “thickset” is defined as “A kind of cotton fustian or velvet made either plain or flowered.” On page 370, “velveret” is defined as “A cotton pile fabric, often ribbed like corduroy, and largely made in the Machester area from about 1750″ and the entry goes on to discuss how they were often stamped and patterned.

On page 205, “corduroy” is defined as “‘A kind of coarse, durable cotton fabric, having a piled surface, like that of velvet, raised in cords, ridges, or ribs’ (Merriam-Webster). It was made with an extra weft in the pile. The character of corduroy has not changed greatly since the late eighteenth century.”

Online Resources:

• “Velvet” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Working With Nap and Pile” by Sarai at The Coletterie
• “Meet the Velvets” is the first page of a six page series on using velvet fabrics for historical costuming use, with a great deal of excellent information on different fiber and fiber blend velvets currently available, by Missa at Sempstress.
• “Sewing With Velvet” by Leimoni Oakes at The Dreamstress
• “Quick Look: Velvet” by Rachel at The Coletterie
• “Quick Look: Corduroy” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

About “Man-Made” Versus “Synthetic” Fibers:

“Many people refer to the man-made cellulosic fabrics–rayon, acetate, and triacetate–as man-made, and the man-made noncellulosic fabrics–nylon, polyester, acrylic, etc.–as synthetic. These are useful terms that may help you remember that, although man-made, rayon and acetate behave more like natural fabrics than do the synthetics, such as nylon and polyester.” (Ingham and Covey, The Costume Technician’s Handbook, page 68)

For more information about man-made cellulosic fibers, see the entry on rayon fiber.

About Synthetic (Noncellulosic) Fibers:

“Noncellulosic man-made fabrics are based on a chemical reaction called polymerization and are derived mainly from the basic chemicals found in water, coal, and petroleum. The production of man-made noncellulosic fabrics is highly complex. As with man-made cellulosics, the first step is to liquify the base chemical mixture, and the second is to force the resulting solution through the spinneret. The characteristics of the various noncellulosic materials–today twenty generic types are produced worldwide–are attributable to the different chemical structures of the solution and the different processes to which the extruded filament may be subjected.” (Ingham and Covey, The Costume Technician’s Handbook, page 68)

“Acrylic: Commonly soft, light, fluffy fabric construction. Available in sheer fabrics, knits, fleece, fur-like and pile fabrics, and blends with natural and man-made fibers…. Microfibers: Available in acrylic, nylon, polyester, and rayon. Defined as a fiber that has less than 1 denier per filament. Finer than the most delicate silk and very drapeable. Luxurious hand, often silken or suede-like touch…. Nylon: Several types of nylon produce a wide variety of fabric textures, from smooth and crisp to soft and bulky. Available in wide range of fabrics, both woven and knitted…. Polyester: Available in many weights, textures, and weaves; often used in blends and minimum care fabrics…. Spandex: Found in stretchable, flexible, supple fabrics…” (Butterick, Vogue Sewing, pages 52-54)

On Using Man-Made Fabrics for Vintage & Historical Reproductions:

“Because so many modern clothes are made from synthetics, you’re probably used to their essentially plastic appearance. But synthetics make period clothes appear shoddy and inauthentic. Even if the material is partly natural, or used only on one area of one garment. Synthetics also trap heat and moisture. This is an important consideration with period outfits, which are heavier and more layered than modern ones.
“In other words, reproduction fabrics and trims should be made entirely of linen, cotton, wool (including cashmere and other animal-hair fabrics), silk, or a blend of these. (There are some other cellulosic fibers which are seldom found today.) The only exception is rayon, which is cellulose based. Rayon looks most natural blended with silk or cotton. I’m particularly fond of rayon/silk satins and brocades, and cotton velvet over a rayon base. But all-rayon fabrics (especially velvet) can definitely be too shiny.” (Grimble, After a Fashion, page 72)

“In some circumstances, a dressmaker may choose to substitute a high quality man-made fiber in order to replicate a specific weave, color, or textile pattern. This should not be lightly done; it takes detailed research to know when such substitutions are appropriate, and what the compromise entails authenticity-wise. In general, it is best to avoid synthetics.” (Clark, The Dressmaker’s Guide, 2nd ed., page 54)

“The proliferation of synthetics throughout the textile and garment industries continues to pose problems for costume designers and technicians who are in the business of creating stage costumes for plays set in many historical periods, most of which fall before the invention of the wash-and-wear, crease resistant, nonsag ‘miracle’ fabrics. Unfortunately, garments made from nylon, polyester, and acrylic fabrics do not look exactly like garments made from silk, wool, or cotton, especially in motion and under stage lights.” (Ingham and Covey, The Costume Technician’s Handbook, page 59)

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Online Resources:

• “Synthetic Fiber” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Quick Look: Satin” by Rachel at The Coletterie
• “Quick Look: Tulle” by Rachel at The Coletterie
• “Quick Look: Jersey” by Rachel at The Coletterie
• “Quick Look: Damask” by Rachel at The Coletterie
• “Quick Look: Brocade” by Rachel at The Coletterie
• “Quick Look: Taffeta” by Rachel at The Coletterie

Print Resources: See the article Glossary: Fibers, Fabrics, and Materials for a list of print resources.

Updated January 10, 2012

For information on noncellulosic man-made fibers, generally known simply as synthetic fibers, see the entry on synthetic fiber.

About Man-Made, Cellulosic Fibers:

“There are two types of man-made fabrics: cellulosic and noncellulosic. The original ‘artificial silk,’ now known as rayon, and two later varieties, acetate and triacetate, are cellulosic fabrics. They are derived from regenerated cellulose from natural sources, chiefly wood pulp and cotton linters, the tiny pieces of cotton fibers left behind after ginning. These materials are subjected to chemical processes that reduce them to a honeylike solution. This solution is forced through a spinneret, a device that looks much like a shower head with tiny holes, and comes out in slender, hairlike filaments. After the filaments solidify, they may be processed into different types of yarn. Differences in the chemical composition of the solutions and in the reduction processes account for the differences between the three cellulosic fabrics.” (Ingham and Covey, The Costume Technician’s Handbook, page 68)

About “Man-Made” Versus “Synthetic” Fibers

“Many people refer to the man-made cellulosic fabrics–rayon, acetate, and triacetate–as man-made, and the man-made noncellulosic fabrics–nylon, polyester, acrylic, etc.–as synthetic. These are useful terms that may help you remember that, although man-made, rayon and acetate behave more like natural fabrics than do the synthetics, such as nylon and polyester.” (Ingham and Covey, The Costume Technician’s Handbook, page 68)

For more information about synthetic (man-made, noncellulosic) fibers, see the entry on synthetic fiber.

About Rayon and Other Man-Made Cellulosic Fibers:

“From 1886, when it was first developed, until 1924, the fabric we called rayon was known as ‘artificial silk,’ a reminder of what textile chemists had been looking for. In 1924, the man-made fabric industry sponsored a context to find a generic name for its product. Kenneth Lord coined the word rayon the first man-made word for the first man-made fabric.
Beginning as it did as an inexpensive substitute for silk, rayon had a long climb up the ladder of respectability. For many years rayon was a limp fabric that sagged, stretched, wrinkled, and didn’t wear well. Fortunately, modern manufacturing techniques have improved rayon quality and performance, and it now plays an increasingly important role in the fashion industry. Rayon is lightweight, soft, drapeable, and comfortable to wear.” (Ingham and Covey, The Costume Technician’s Handbook, pages 68-69)

“Rayon: Comes in a wide range of qualities; can be made to resemble natural fibers; can be lightweight or heavy constructions. May have smooth surfaces or bulky napped textures. Soft hand drapes well.” (Butterick, Vogue Sewing, page 54)

“Acetate: Silk-like appearance, luxurious soft feel, deep luster, excellent draping qualities. Found in fabrics such as satin, jersey, taffeta, lace, faille, brocade, tricot, and crepe, and often in blends with other man-made fibers.” (Butterick, Vogue Sewing, page 51)

On Using Man-Made Fabrics for Vintage & Historical Reproductions:

“Because so many modern clothes are made from synthetics, you’re probably used to their essentially plastic appearance. But synthetics make period clothes appear shoddy and inauthentic. Even if the material is partly natural, or used only on one area of one garment. Synthetics also trap heat and moisture. This is an important consideration with period outfits, which are heavier and more layered than modern ones.
“In other words, reproduction fabrics and trims should be made entirely of linen, cotton, wool (including cashmere and other animal-hair fabrics), silk, or a blend of these. (There are some other cellulosic fibers which are seldom found today.) The only exception is rayon, which is cellulose based. Rayon looks most natural blended with silk or cotton. I’m particularly fond of rayon/silk satins and brocades, and cotton velvet over a rayon base. But all-rayon fabrics (especially velvet) can definitely be too shiny.” (Grimble, After a Fashion, page 72)

“In some circumstances, a dressmaker may choose to substitute a high quality man-made fiber in order to replicate a specific weave, color, or textile pattern. This should not be lightly done; it takes detailed research to know when such substitutions are appropriate, and what the compromise entails authenticity-wise. In general, it is best to avoid synthetics.” (Clark, The Dressmaker’s Guide, 2nd ed., page 54)

“The proliferation of synthetics throughout the textile and garment industries continues to pose problems for costume designers and technicians who are in the business of creating stage costumes for plays set in many historical periods, most of which fall before the invention of the wash-and-wear, crease resistant, nonsag ‘miracle’ fabrics. Unfortunately, garments made from nylon, polyester, and acrylic fabrics do not look exactly like garments made from silk, wool, or cotton, especially in motion and under stage lights.” (Ingham and Covey, The Costume Technician’s Handbook, page 59)

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Online Resources:

• “Rayon” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Linen and Rayon” by Caitlin at The Coletterie
• “An Alternative to Silk,” an article about using rayon as a silk-substitute, by Sunni at The Cupcake Goddess

Print Resources: See the article Glossary: Fibers, Fabrics, and Materials for a list of print resources.

Updated January 10, 2012

Definitions of wool related terms and of relevant types of wool fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 12, on the subject of fibers, it is stated that “Wool or woolen is a staple fiber, meaning it is of relatively short length. Short staple wool is carded before spinning and creates fluffier yarn and fabric. Longer staple wool is called ‘worsted.’ Worsted fibers are combed to lay them parallel before spinning, creating a smoother yarn and thus a smoother fabric.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

On page 39, it is stated that “Woolen and worsted yarns are, respectively, the wool counterparts of carded and combed, yarns in other fibers,” after stating that “Carding produces a loose strand of more or less parallel fibers about and inch (25 mm) in diameter. Further combing eliminates shorter fibers and produces a strand of higher quality.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 180, “stuff” is defined as “plain wool fabric.” Also on page 180, “tartan” is defined as “wool fabric crossbarred by narrow bands of different colors.” Also on page 180, “wool” is defined as “fabric made from the fleece of sheep, woven in many different styles, has warmth and elasticity.” Also on page 181, “worsted” is defined as “wool fabric made of well-twisted yarn of long-staple wool, combed to lay the fibers parallel.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 375, “woolen” is defined as “Cloth made of carded short-staple fibers. After weaving, the cloth was fulled for shrunk to make it denser and heavier. Broadcloth was England’s traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting.” Also on page 375, “worsted” is defined as “Lightweight cloth made of long-staple combed wool yarn. The name was derived from the village of Worstead near Norwich, a center for worsted weaving. The smooth, shiny fibers were suitable for embroidery and indeed were synonymous with the word crewel, or crewel yarn.”

On page 325, “plaid” is defined as “A twill or plain woven cloth with a pattern of intersecting stripes in both the warp and the weft. The patterns may also be printed.” On page 353, “stuff” is defined as “A general term for worsted cloths.” Drawing from an 1833 list, stuff was available twilled or plain, in such varieties as merino, shalloons, lastings, prunella, florentine, tammies, calimancoes, camblets, and plaids.

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Quick Look: Cashmere” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Note that many fabrics of this type available today are made of synthetic fibers, or blended wool with synthetic fibers; blends, and especially fully synthetic fabrics, do not look, feel, or behave the same way as natural, 100% wool or animal hair (such as cashmere) fabrics. For more information on the differences between natural and synthetic fibers, see the entry on synthetic fiber.

Definitions of flannel and other fulled wool fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 12, on the subject of fibers, it is stated that “Wool or woolen is a staple fiber, meaning it is of relatively short length. Short staple wool is carded before spinning and creates fluffier yarn and fabric. Longer staple wool is called ‘worsted.’ Worsted fibers are combed to lay them parallel before spinning, creating a smoother yarn and thus a smoother fabric. Natural colors of wool range from creamy white to beige to brown to black. Wool dyes well because it is absorbent upon prolonged exposure to moisture. Overlapping scales that cover the fiber (seen under magnification) give wool its felting ability, because they interlock and entangle the fibers with the application of heat, moisture, and agitation. This is important in the fulling process, which shrinks and felts the wool to a desired degree. The scales also trap air, which makes wool warm to wear.”

There are no specific references to “flannel,” but on page 24, the fabric swatch for “baize” is something that could be termed a heavy flannel. The text states that “This plain-weave woolen cloth was heavily fulled so that the fibers became felted. Both sides were brushed to raise a nap. The linings of many early nineteenth century cloaks appear to be home-woven baize (commonly green), and are of a lighter weight than the same shown here, which represents a factory-woven baize.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

Under the heading of “Texture Finishes” on page 46, it is stated that “Napping is a common finish by which short fiber ends of spun yarn are raised to the surface of a fabric by a series of revolving wire brushes to create flannel or fleece.” On the same page, it is also stated that “Fulling takes advantage of the natural shrinkage capacity of wool. Subjecting the cloth to moisture, heat, and pressure compacts the yarns, strengthens the weave, and imparts warmth, body, and stability. It is similar to the felting of non-woven fibers.”

• Clark, Elizabeth Stewart. The Dressmaker’s Guide; 1840-1860. 2nd edition, Revised & Expanded. Idaho Falls, Idaho: Elizabeth Stewart Clark & Company, 2009.

While discussing wool textiles for mid-19th century reproduction clothing on page 61, it is stated that:
“When you come across references to ‘flannel’ in mid-century sources, this is most often a wool flannel, not cotton. Wool flannel can be made in a plain weave, or in a twill weave; it may be fuzzed on one or both sides. Woolen flannel generally has a loose weave, and is resistant to creasing; the woolen fibers give it an almost springy feel. Worsted flannels are firm, with a very slightly fuzzed surface, and tak[e] well to tailoring and creasing. Worsted flannel also tends to be less itchy, due to the longer fibers.
“Similarly, when you find references to ‘broadcloth’ in mod-century sources, it is most often a wool broadcloth, not cotton.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 175, “broadcloth” is defined as “fine, stout, smooth-faced wool cloth, felted or given a nap finish to avoid raveling, much used for men’s clothes.” On page 176, “Georgian cloth” is defined as “light-weight broadcloth, first popular in 1806.” Also on page 176, “ladies’ cloth” is defined as “a light-weight broadcloth used for dresses.”

On page 180, “wool” is defined as “fabric made from the fleece of sheep, woven in many different styles, has warmth and elasticity.” On page 181, “worsted” is defined as “wool fabric made of well-twisted yarn of long-staple wool, combed to lay the fibers parallel.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 375, “woolen” is defined as “Cloth made of carded short-staple fibers. After weaving, the cloth was fulled for shrunk to make it denser and heavier. Broadcloth was England’s traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting.” On page 177, “broadcloth” is described as being “Made of carded wool in plain weave and fulled after weaving.”

On page 152, “baize” is defined as “A heavy woolen cloth, well felted and usually raised, or napped, on both sides. Dyed brown or green it is used for covering tables, especially billiard tables.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics
• “Quick Look: Cashmere” by Rachel at The Coletterie
• “Quick Look: Flannel” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

See also the entry on wool challis.

Note that many fabrics of this type available today are made of synthetic fibers, or blended wool with synthetic fibers; blends, and especially fully synthetic fabrics, do not look, feel, or behave the same way as natural, 100% wool or animal hair (such as cashmere) fabrics. For more information on the differences between natural and synthetic fibers, see the entry on synthetic fiber.

Definitions of light and mid-weight plain-woven wool fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 12, on the subject of fibers, it is stated that “Wool or woolen is a staple fiber, meaning it is of relatively short length. Short staple wool is carded before spinning and creates fluffier yarn and fabric. Longer staple wool is called ‘worsted.’ Worsted fibers are combed to lay them parallel before spinning, creating a smoother yarn and thus a smoother fabric.”

On page 16, on the subject of weaves, it is stated that “Plain or tabby is the simplest of weaves. The weft (crosswise) yarns cross the warp (lengthwise) yarns in an over-one, under-one pattern, with each pass of the weft alternating with the row before it.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

On page 39, it is stated that “Woolen and worsted yarns are, respectively, the wool counterparts of carded and combed, yarns in other fibers,” after stating that “Carding produces a loose strand of more or less parallel fibers about and inch (25 mm) in diameter. Further combing eliminates shorter fibers and produces a strand of higher quality.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 175, “broadcloth” is defined as “fine, stout, smooth-faced wool cloth, felted or given a nap finish to avoid raveling, much used for men’s clothes.” On page 176, “challie” is defined as “fine, delicate fabric without gloss of wool or of silk and wool, usually printed in colors.” On the same page, it also defines “chale” as “the same as challie, or French for shawl” and “challais” as “the same as challie.” Also on page 176, “Georgian cloth” is defined as “light-weight broadcloth, first popular in 1806.” Also on page 176, “ladies’ cloth” is defined as “a light-weight broadcloth used for dresses.” Also on page 176, “de laine” is defined as “a light-weight wool or wool and cotton fabric.” On page 177, “kersey” is defined as wool cloth, usually coarse and ribbed.”

On page 178, “mouseline-delain” and “mousseline de laine” are both defined as “wool muslin,” while “muslin” is defined as “stout, light, open cotton fabric of varying fineness, used for summer dresses, plain, printed, dyed, dotted. A general term used for similar fabrics as lawn, mull, cambric.” On page 179, “poplinette” is defined as “wool or linen fabric resembling poplin,” while “poplin” is defined as “fine, smooth, strong fabric with a plain silk warp and coarse silk weft, or of all cotton.”

On page 180, “stuff” is defined as “plain wool fabric.” Also on page 180, “tartan” is defined as “wool fabric crossbarred by narrow bands of different colors.” Also on page 180, “wool” is defined as “fabric made from the fleece of sheep, woven in many different styles, has warmth and elasticity.” Also on page 180, “algerine wool” is defined as “from Algeria, a soft fabric with bright colored stripes.” Also on page 180, “woolen saxony” is defined as “fine glossy wool fabric made in Saxony.” On page 181, “woolen valencia” is defined as “fabric for waistcoats; probably made entirely of wool.” Also on page 181, “worsted” is defined as “wool fabric made of well-twisted yarn of long-staple wool, combed to lay the fibers parallel.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 375, “woolen” is defined as “Cloth made of carded short-staple fibers. After weaving, the cloth was fulled for shrunk to make it denser and heavier. Broadcloth was England’s traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting.” Also on page 375, “worsted” is defined as “Lightweight cloth made of long-staple combed wool yarn. The name was derived from the village of Worstead near Norwich, a center for worsted weaving. The smooth, shiny fibers were suitable for embroidery and indeed were synonymous with the word crewel, or crewel yarn.”

On page 177, “broadcloth” is described as being “Made of carded wool in plain weave and fulled after weaving.” On page 195, “challis (challie)” is defined as “A soft wool, or wool-cotton cloth, plain, printed, or figured.” It also states that “It was twill woven.” On page 215, “delaine” is defined as “A fine woolen fabric, first called mousseline de laine, or muslin of wool, developed by the French.” It goes on to state that delaines were often printed, and were wiry and hard in texture. On page 325, “plaid” is defined as “A twill or plain woven cloth with a pattern of intersecting stripes in both the warp and the weft. The patterns may also be printed.”

On page 353, “stuff” is defined as “A general term for worsted cloths.” Drawing from an 1833 list, stuff was available twilled or plain, in such varieties as merino, shalloons, lastings, prunella, florentine, tammies, calimancoes, camblets, and plaids. On page 360, “tammy” is defined as “A strong, lightweight worsted of plain weave and open texture, often glazed.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

See also the entry on wool tabby.

Note that many fabrics of this type available today are made of synthetic or man-made fibers (especially rayon), or blended wool with synthetic or man-made cellulosic fibers; blends, and especially fully man-made fabrics, do not look, feel, or behave the same way as natural fabrics. For more information on the differences between natural and man-made fibers, see the entries on synthetic fiber and rayon fiber (which includes information on other man-made, cellulosic fibers).

Definitions of challis from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

Challis is not mentioned.

• Clark, Elizabeth Stewart. The Dressmaker’s Guide; 1840-1860. 2nd edition, Revised & Expanded. Idaho Falls, Idaho: Elizabeth Stewart Clark & Company, 2009.

In the textile primer section on page 60, it is noted that “Challis” is “pronounced ‘shallee’; plain weave, very soft, often printed.” I believe that the note about it being “often printed” refers to the challis commonly available in the mid 19th century.

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 176, “challie” is defined as “fine, delicate fabric without gloss of wool or of silk and wool, usually printed in colors.” On the same page, it also defines “chale” as “the same as challie, or French for shawl” and “challais” as “the same as challie.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 195, “challis (challie)” is defined as “A soft wool, or wool-cotton cloth, plain, printed, or figured.” It also states that “It was twill woven.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Definitions of satin, especially silk satin, from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On the topic of “Weaves” on page 16, it states that “Satin is both a weave structure and the name of a fabric. Satin weaves are much like twill weaves. However, the warp yarns float over from four to as many as twelve weft yarns, and the offset of each successive pick is different, so that no diagonal ridge is formed. Sateen is like satin, except that the weft yarn forms the float, rather than the warp. Sateen is generally woven with cotton. Satin weaves are less durable than other weaves, because the long floats of yarn are easily abraded, and they also tend to pick up and hold dirt. For this reason, and because of the elegant luster that the satin weave creates, these fabrics tend to be used for more formal purposes–evening clothes, or high quality table linen.”

On page 45, under the heading “satin,” along with a swatch of figured satin, the text states that “satin is both a weave structure and the name of a fabric. The satin weave can be used with any fiber. Figured, or ‘flowered,’ satin (also called ‘damask’) is woven with complex designs, in small to large scale, generally in a single color. The play of light across the monochrome woven pattern brings out the design, which is reversible. Reversibility had advantages: it was considered economical to invest in a figured satin, because a garment made from such a fabric could be taken apart, turned, and reconstructed to make the garment last an extra long time. Both plain satins and figured satins have been woven for centuries, but in the early 1800s, the invention of the jacquard mechanism made these fabrics much easier to produce.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

Page 41: “Satin weave has a characteristic luxurious shine. The surface is composed of floats, or warp yarns, which may pass over many filling yarns before being caught under one. The surface yarns, usually of filament fibers, intersect cross threads at points randomly spaced so the smooth texture appears unbroken. A variation called sateen has similar surface floats, but they run in the filling direction and are usually of a spun staple yarn.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 179, “satin” is defined as “thick, close textured silk fabric with the warp threads completely covering the weft threads,thus producing a glossy surface.” Further types of satin, including thinner varieties, are also defined on the same page, including “satinet,” which is “thin or imitation satin.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On pages 339-340, “satin” is defined in several quotes from historical sources, similar to previous definitions listed on this page. It is also clarified, on page 340, that “The warp threads are ordinarily much finer than the weft threads and more numerous to the square inch so that they conceal the weft and make an unbroken, smooth, and lustrous surface.”

Online Resources:

• “Silk” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Silk” by Caitlin at The Coletterie
• “This Girl’s Tips & Tricks on Working With Silk” by Sunni at The Cupcake Goddess
• A thread about “silks” for mid-19th century use at The Sewing Academy
• “Tips on Sewing With Silk” by Tasia at Sewaholic
• “Quick Look: Satin” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012